Ancient art was essentially the glorification of the body, a representation of the full strength and beauty of developed manhood. The saint of the mediæval mosaic represents the body in its extreme maceration and humiliation. The rhetorician, Dio Chrysostom, in a somewhat whimsical passage, which was suggested by a remark of Plato, found a special moral significance in the fact that Homer, though he places his heroes on the the banks of what he calls 'the fishy Hellespont,' never makes them eat fish, but always flesh and the flesh of oxen, for this, as he says, is 'strength-producing food' and is therefore suited for the formation of heroes and the proper diet for men of virtue. Compare this judgment with the protracted, and indeed incredible, fasts which the monkish writers delighted in attributing to the saints of the desert, and we have a vivid picture of the change that had passed over the ideal.
But as time moved on the ascetic ideal gradually declined and was replaced by the very different ideal of chivalry. It consisted chiefly of three new elements. The first element was a spirit of gallantry which gave women a wholly new place in the imaginations of men. It was in part a reaction against the extreme austerity of the saints, and this reaction was much intensified after the cessation of the panic which had risen at the close of the tenth century about the approaching end of the world. It was in part produced by the softer and more epicurean civilisation which grew up in the country bordering on the Pyrenees. It was especially represented in the romances and poems of the Troubadours, and the new tendency even received some assistance from the Church when the Council of Clermont, which originated the Crusades, imposed on the knight the religious obligation of defending all widows and orphans.
The second element was an increased reverence for secular rank, which grew out of the feudal system, when a great hereditary aristocracy arose and all European society was moulded into a compact hierarchy, of which the serf was the basis and the emperor the apex. The principle of subordination and obedience ran through the whole edifice, and a respect for rank was universally diffused. Men came to associate their ideal of greatness with regal or noble authority, and they were therefore prepared to idealise any great sovereign who might arise. Such a sovereign appeared in Charlemagne, who exercised upon Christendom a fascination not less powerful than that which Alexander had once exercised upon Greece, and he accordingly soon became the centre of a whole literature of romance.
The third element was the fusion of religious enthusiasm with the military spirit. Christianity in its first phases was utterly opposed to the military spirit; but this opposition was naturally mitigated when the Church triumphed under Constantine and became associated with governments and armies. The hostility was still further qualified when many tribes of warlike barbarians embraced the faith, and the military obligation which was an essential element of feudalism acted in the same direction. But, above all, the rise and conquests of Mohammedanism awoke the military energies of Christendom and determined the direction it should take. In the Crusades the two great streams of military enthusiasm and of religious enthusiasm met, and the result was the formation of a new ideal which for a long period mainly governed the imagination of Christendom.
It for a time absorbed, eclipsed, and transformed all purely national ideals. No poet was ever more intensely English in his character and sympathies than Chaucer, and he wrote when the dazzling glories of Crécy and Poitiers were still very recent. Yet it is not on these fields, but in the long wars with the Moslems, that his pattern knight had won his renown. The military expeditions of Charlemagne were directed almost exclusively against the Saxons and against Slavonic tribes. With the Spanish Mohammedans he came but very slightly in contact. He made in person but one expedition against them, and that expedition was both insignificant and unsuccessful. But in the Karlovingian romances, which were written when the crusading enthusiasm was at its height, the figure of the great emperor underwent a strange and most significant transformation. The German wars were scarcely noticed. Charlemagne is surrounded with the special glory that ought to have belonged to Charles Martel. He is represented as having passed his entire life in a victorious struggle with the Mohammedans of Europe, and is even gravely credited with a triumphant expedition to Jerusalem. The three romances of the Crusades which are believed to be the oldest were all written by monks, and they all make Charlemagne their hero. Even geography was transformed by the new enthusiasm, and old maps sometimes represent Jerusalem as the centre of the world.
In few periods has there been so great a difference between the ideals created by the popular imagination and the realities that are recognised by history. Few wars have been accompanied by more cruelty, more outrage, and more licentiousness than the Crusades or have brought a blacker cloud of disasters in their train. Yet the idea that inspired them was a lofty one, and they were so speedily transfigured by the imaginations of men that in combination with the other influences I have mentioned they created an ideal which is one of the most beautiful in the history of the world. We may trace it clearly in the romances of Arthur and Charlemagne and of the "Cid;" in the "Red-Cross Knight" of Tasso and Spenser; in the old ballads which paint so vividly the hero of chivalry, ever ready to draw his sword for his faith and his lady-love and in the cause of the feeble and the oppressed. The glorification of military courage and self-sacrifice which had been so prominent in antiquity was again in the ascendant, but it was combined with a new kind of honour and with a new vein of courtesy, modesty, and gentleness. When we apply the epithet 'chivalrous' to a modern gentleman, this is no unmeaning term. There is even now an element in that character which may be distinctly traced to the ideal of chivalry which the Crusades made dominant in Europe.
I do not propose to follow the history of other ideals that have in turn prevailed. What I have written will, I trust, be sufficient to illustrate a kind of history which appears to me to possess much interest and value. It will show, too, that a faithful historian is very largely concerned with the fictions as well as with the facts of the past. Legends which have no firm historical basis are often of the highest historical value as reflecting the moral sentiments of their time. Nor do they merely reflect them. In some periods they contribute perhaps more than any other influence to mould and colour them and to give them an enduring strength. The facts of history have been largely governed by its fictions. Great events often acquire their full power over the human mind only when they have passed through the transfiguring medium of the imagination, and men as they were supposed to be have even sometimes exercised a wider influence than men as they actually were. Ideals ultimately rule the world, and each before it loses its ascendancy bequeaths some moral truth as an abiding legacy to the human race.